1. I - 16'10''
2. II - 03'57''
3. III - 12'18''
4. IV - 04'15''
5. V - 12'48''
6. VI - 03'31''
7. VII - 10'44''
dis/con/sent
Ernesto Rodrigues - Viola
Dietrich Petzold - Violin, Viola, Bowed Metal
Guilherme Rodrigues - Cello
Matthias Bauer - Double Bass
Guilherme Rodrigues - Cello
Matthias Bauer - Double Bass
Recorded May 2018, Berlin
Reviews
Beyond (perhaps subtly) novel combinations of instruments featuring bowed strings, Rodrigues also continues to explore more specifically traditional (& acoustic) formats, with another "string quartet" album already appearing: Dis/con/sent is also over an hour in length, this time in a suite of seven tracks (alternating long & short) recorded in Berlin in May by Dietrich Petzold (violin, viola, bowed metal), again with Ernesto & Guilherme Rodrigues, now joined by Matthias Bauer (who was new to me, although he's previously appeared on Creative Sources) on bass. In Rodrigues's recent output, Dis/con/sent might thus be compared directly to Crane Cries (discussed here in April) by a "true" string quartet (i.e. with two violins, although Petzold once again changes instruments), or to Theia (discussed here in July) by what I've dubbed a "jazz string quartet" (i.e. bass instead of a second violin). Dis/con/sent is rather different in tone from either, an impressive & imposing release that's often quite aggressive, although slower or more mysterious around extended techniques at times too: Indeed, the "bowed metal" makes a jarring entry within moments, but is used judiciously from there. Dis/con/sent also employs a wide array of 20th century string quartet technique, including in its ensemble interactions, making it an improvised successor to some of the most dissonant — yet conventionally motivic — music in that format. (It might thus also be compared to the recent Ignis Fatuus, another string quartet discussed here in August, in that case doubling cello, and with more of a romantic or wry sensibility around Honsinger....) Indeed, listeners who enjoy e.g. Bartok or Shostakovich might well enjoy Dis/con/sent, although it's that much more adventurous: It's highly contrapuntal, even as the counterpoint can be repetitive at times, extending continuity (per Eris), and even (perhaps) yielding to nostalgia by the end. (However, the fern cover art doesn't appear to be supported by the kinds of naturalistic evocations sometimes found on these string albums from Rodrigues....) Parts of Dis/con/sent end up being calming, but (perhaps as implied by the title) that's more internal to the suite of movements, rather than an overall result, which suggests something of an intentional symphonic form (presumably as spurred by Petzold) & shifting attitudinal dynamic. It makes for a weighty & sometimes almost intimidating album, difficult to hear as fully improvised.... Todd McComb's Jazz Thoughts
An album for bowed strings, bowed metal, and double bass, from the quartet of Dietrich Petzold on violin, viola, bowed metal, Ernesto Rodrigues on viola, Guilherme Rodrigues on cello, and Matthias Bauer on double bass, presenting a seven part suite recorded in the studio in Berlin, active and exciting music that bridges classical technique with free improvisation. (Squidco)
Beyond (perhaps subtly) novel combinations of instruments featuring bowed strings, Rodrigues also continues to explore more specifically traditional (& acoustic) formats, with another "string quartet" album already appearing: Dis/con/sent is also over an hour in length, this time in a suite of seven tracks (alternating long & short) recorded in Berlin in May by Dietrich Petzold (violin, viola, bowed metal), again with Ernesto & Guilherme Rodrigues, now joined by Matthias Bauer (who was new to me, although he's previously appeared on Creative Sources) on bass. In Rodrigues's recent output, Dis/con/sent might thus be compared directly to Crane Cries (discussed here in April) by a "true" string quartet (i.e. with two violins, although Petzold once again changes instruments), or to Theia (discussed here in July) by what I've dubbed a "jazz string quartet" (i.e. bass instead of a second violin). Dis/con/sent is rather different in tone from either, an impressive & imposing release that's often quite aggressive, although slower or more mysterious around extended techniques at times too: Indeed, the "bowed metal" makes a jarring entry within moments, but is used judiciously from there. Dis/con/sent also employs a wide array of 20th century string quartet technique, including in its ensemble interactions, making it an improvised successor to some of the most dissonant — yet conventionally motivic — music in that format. (It might thus also be compared to the recent Ignis Fatuus, another string quartet discussed here in August, in that case doubling cello, and with more of a romantic or wry sensibility around Honsinger....) Indeed, listeners who enjoy e.g. Bartok or Shostakovich might well enjoy Dis/con/sent, although it's that much more adventurous: It's highly contrapuntal, even as the counterpoint can be repetitive at times, extending continuity (per Eris), and even (perhaps) yielding to nostalgia by the end. (However, the fern cover art doesn't appear to be supported by the kinds of naturalistic evocations sometimes found on these string albums from Rodrigues....) Parts of Dis/con/sent end up being calming, but (perhaps as implied by the title) that's more internal to the suite of movements, rather than an overall result, which suggests something of an intentional symphonic form (presumably as spurred by Petzold) & shifting attitudinal dynamic. It makes for a weighty & sometimes almost intimidating album, difficult to hear as fully improvised.... Todd McComb's Jazz Thoughts
An album for bowed strings, bowed metal, and double bass, from the quartet of Dietrich Petzold on violin, viola, bowed metal, Ernesto Rodrigues on viola, Guilherme Rodrigues on cello, and Matthias Bauer on double bass, presenting a seven part suite recorded in the studio in Berlin, active and exciting music that bridges classical technique with free improvisation. (Squidco)
En commandant l’album d’In The Sea, le fidèle Ernesto Rodrigues a mis cet album dans le paquet parce qu’en qualité de cordiste – violoniste engagé, il se doutait bien que ce dis con sent trouverait grâce à mes oreilles. Il a tout à fait raison. Cet album dans lequel les deux Rodrigues père et fils sont aux prises avec deux pointures berlinoises, le violoniste Dietrich Petzold et le contrebassiste (et cadet des frères Bauer – les trombonistes) Matthias Bauer dans un exercice salutaire : comme l’a toujours professé, répété et inscrit dans le marbre, les instruments de la famille des violons ne donnent leur pleine mesure qu’en étant rassemblés à l’abri des éclats des cuivres, des fréquences invasives de la percussion et de devoir adapter leur doigté à la tricherie de l’accordage du piano (l’addition des fréquences des intervalles de seconde, tierce, quarte, etc… n’est pas transitive). Ce n’est pas le premier des enregistrements du tandem Rodrigues, ensemble ou séparés, en groupe exclusivement cordiste à archet, mais ce dis con sent est sans doute une trace discographique majeure dans le cursus. Bon à savoir, vu l’étendue du catalogue C.S. Pour les reconnaître l’un de l’autre, Guilherme, c’est le fils souriant et il joue du violoncelle. Le père, pensif, excelle à l’alto, un instrument difficile pour lequel Dietrich Petzold est aussi crédité, en sus de bowed metal. En traversant d’écoute les pièces numérotées de I à VII, on a droit à toute la gamme des occurrences sonores, des cadences, des émotions, des raffinements et des emportements. Il n’est pas inintéressant de comparer au Stellari Quartet de Phil Wachsmann, Charlotte Hug, Marcio Mattos et John Edwards dont Emanem a publié deux albums et dont l’instrumentation est quasi-identique. Avec deux British et un Brésilien londonien d’adoption, il y a une dose d’excentricité, d’expressions plus individualisées. Mais les moments offerts par ce quartet Lisbonne – Berlin recèlent bien des qualités au niveau des timbres et des agencements interactifs dans une synergie pleinement vécue. Lueurs vif-argent, couleurs sombres, élégies vespérales, rebondissements primesautiers, créations de formes bien marquées et évolutives, ouvertes à la contradiction, entremêlements de frottés saturés et de doigtés en saccade, torsades de sons boisés et moirés. C’est tout bonnement exemplaire. Pierre Boulez a de son vivant invité le Stellari Quartet au festival de Lucerne à l’écoute d’un CDr proposé par Charlotte Hug. Charlotte : « Maestro, c’est de la musique entièrement improvisée ! ». Le compositeur avait souvent manifesté sa « désapprobation » face à l’improvisation. Mais il fut convaincu par le résultat qui utilisant les possibilités sonores des cordes et leurs imbrications etc… qui était très proche de la consistance et de l’évolution dramatique et musicale d’une œuvre conçue par un excellent compositeur et jouée par des instrumentistes au sommet de leur art. C’est bien l’impression de cette vérité, de cette réalité que je perçois ici. Une œuvre qui appelle à la réécoute, au chérissement Rosenbergien et mérite de figurer dans les annales. Jean-Michel Van Schouwburg (Orynx)
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